I've spent the past 2 weeks making this special Halloween mix for you all to enjoy. Novelty songs, soundtrack cuts, horrorcore, horror-punk, horror surf, trailers, and other assorted bits and bobs. A creeptastic spooktacular!

Two lapsed Catholics from New Jersey (host Patrick Ripoll and Bill Ackerman of the Supporting Characters podcast) try to tackle what makes this film so deep, satisfying and scary. In addition to the commentary Bill Ackerman brings with him an exclusive interview he did with Alice, Sweet Alice director Alfred Sole, getting into his career, the joys and pains of low-budget film-making, and what the hold up is on Alice, Sweet Alice coming out on blu-ray. Even if you know the story of Alice, Sweet Alice, this is not one to miss!

On this episode Patrick is joined by Robert Reineke of Still Watching the Skies and Where The Long Tail Ends and in addition to talking about the classic adventure horror film they discuss Hammer studios, the profile of Christopher Lee, and the cultural importance of 1950's cleavage. They assure me the latter is very important indeed. They also talk about the wide pantheon of Hammer's legendary genre films, and which Dracula movies are the worst.

You take Carpenter's filmography and put it in a giant 1,500 lb blender, mix with some green goo, and hit puree. The result? Prince of Darkness (1987), a supernatural quantum physics siege film that has as many high minded science fiction ideas as it does characters. But can a director who's worked his way to major studio projects go back to a puny 3 million dollar budget? Can you slow burn an entire movie? And where does Alice Cooper fit in?

Final Destination 2 (2002) got the formula just right, a rare modern horror franchise primarily concerned with subverting and fucking with audience expectations, culminating in an approach that combines horror and slapstick comedy in ways that hadn't been seen in Hollywood in nearly 20 years. On the latest episode of Tracks of the Damned, the horror film commentary track podcast, Patrick and Jim discuss FD2, the subsequent entries in the series, and the logistics of high speed freeway pile-ups.

So while now we can look back on Duel (1971) as a no-brainer, the 20th century's preeminent film entertainer being handed a story full of car chases, the reality that this movie exists at all, let alone this good, is actually absolutely insane. So what happened? How did Spielberg pull it out? And how did he almost never end up collaborating with John Williams? On the latest episode of Tracks of the Damned, the horror film commentary podcast, Patrick answers all this and asks the question: Where did all the country bumpkins go in Steven Spielberg movies?

Here's your wake-up call. Tobe Hooper is only ever gonna do what Tobe Hooper wants to do. He doesn't just follow his own drummer, he IS his own drummer (listen to the TCM score if you don't believe me) and while you may think you're going to get a quick cheap slasher movie out of a film like The Funhouse (1981), what actually turns out is much much stranger.

For the season 2 premiere of Tracks of the Damned, the horror film commentary track podcast, Patrick is joined by author Christopher Olson (Possessed Women, Haunted States: Cultural Tensions in Exorcism Cinema) as they both watch The Haunting and wonder: Is there really a ghost here? Is there really a house? How did Wise and screenwriter Nelson Gidding go about adapting Shirley Jackson's classic horror novel? Is there a scientific rational way to measure hauntings?